Robert Roach

Untitled abstract #35 , by Santa Fe artist Robert Roach

circa 1219

Unique monotype, signed and numbered 1/1. Artist Robert Roach lived in Santa Fe, New Mexico. His one-of-a-kind, abstract monoprints were inspired by the landscape, climate and ligh...

Unique monotype, signed and numbered 1/1. Artist Robert Roach lived in Santa Fe, New Mexico. His one-of-a-kind, abstract monoprints were inspired by the landscape, climate and ligh...

Unique monotype with oil pastel, signed and numbered 1/1. Artist Robert Roach lived in Santa Fe, New Mexico. His one-of-a-kind, abstract monoprints were inspired by the landscape, ...

Unique monotype with oil pastel, signed and numbered 1/1. Artist Robert Roach lived in Santa Fe, New Mexico. His one-of-a-kind, abstract monoprints were inspired by the landscape, ...

Untitled Acrylic on paper, c. 1975 Signed by the artist in ink lower right (see photo) An early Modernist Abstraction, created shortly after the death of her husband, Adolf Dehn in 1968. Condition: Excellent Archival framing Image size: 18 x 24 Provenance: Estate of the artist Dehn Heirs Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

Original abstract Acrylic Painting on Canvas, affixed to Windsor Newton paper. The moods and whims of nature influence the work of Sarah Van Beckum. ...

Esteban Vicente (1903-2001). Untitled, #36, 1955. Gouache on paper, image measures 8 x 11 inches, 16.5 x 19.5 inches framed. Signed, dated and numbered on verso. Excellent condition....

William Scharf Untitled, 1962 Signed lower left; signed and dated verso Oil on canvas 48 x 50 inches A visionary painter with ties to the avant-garde artistic community in New York at midcentury, William Scharf nevertheless defies art historical categorization. His abstracted compositions of organic and geometric formal elements recall the free associations of Surrealism and the all-over grandeur of Abstract Expressionism, and at the same time embody a very individual and immediately recognizable pictorial sense. Scharf combines virtuoso paint handling, vibrant color, and rich symbolic language in canvases that engage the viewer in a transcendent and emotional dialogue. This dialogue is accomplished in part through recurring symbols, which allude to hidden, mysterious narratives. Scharf plumbs the psychological wells of collective myths for symbolic content: the crown of thorns, the ladder, the fish, and the cross can be found throughout, functioning not, as one might expect, as religious symbols, but rather as a means through which to access a deeper, symbolic level of visual communication. Born in 1927 in Media, Pennsylvania, an early friendship with renowned artist N.C. Wyeth encouraged Scharf’s artistic efforts from a very young age. After a time with the Army Air Corps in the mid-1940s, Scharf formalized his art studies at the Pennsylvania Academy of the Fine Arts under Franklin Watkins...